The Sources of Surrealism
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Correlations Between Creativity In
1 ARTISTIC SCIENTISTS AND SCIENTIFIC ARTISTS: THE LINK BETWEEN POLYMATHY AND CREATIVITY ROBERT AND MICHELE ROOT-BERNSTEIN, 517-336-8444; [email protected] [Near final draft for Root-Bernstein, Robert and Root-Bernstein, Michele. (2004). “Artistic Scientists and Scientific Artists: The Link Between Polymathy and Creativity,” in Robert Sternberg, Elena Grigorenko and Jerome Singer, (Eds.). Creativity: From Potential to Realization (Washington D.C.: American Psychological Association, 2004), pp. 127-151.] The literature comparing artistic and scientific creativity is sparse, perhaps because it is assumed that the arts and sciences are so different as to attract different types of minds who work in very different ways. As C. P. Snow wrote in his famous essay, The Two Cultures, artists and intellectuals stand at one pole and scientists at the other: “Between the two a gulf of mutual incomprehension -- sometimes ... hostility and dislike, but most of all lack of understanding... Their attitudes are so different that, even on the level of emotion, they can't find much common ground." (Snow, 1964, 4) Our purpose here is to argue that Snow's oft-repeated opinion has little substantive basis. Without denying that the products of the arts and sciences are different in both aspect and purpose, we nonetheless find that the processes used by artists and scientists to forge innovations are extremely similar. In fact, an unexpected proportion of scientists are amateur and sometimes even professional artists, and vice versa. Contrary to Snow’s two-cultures thesis, the arts and sciences are part of one, common creative culture largely composed of polymathic individuals. -
THE NAKED APE By
THE NAKED APE by Desmond Morris A Bantam Book / published by arrangement with Jonathan Cape Ltd. PRINTING HISTORY Jonathan Cape edition published October 1967 Serialized in THE SUNDAY MIRROR October 1967 Literary Guild edition published April 1969 Transrvorld Publishers edition published May 1969 Bantam edition published January 1969 2nd printing ...... January 1969 3rd printing ...... January 1969 4th printing ...... February 1969 5th printing ...... June1969 6th printing ...... August 1969 7th printing ...... October 1969 8th printing ...... October 1970 All rights reserved. Copyright (C 1967 by Desmond Morris. This book may not be reproduced in whole or in part, by mitneograph or any other means, without permission. For information address: Jonathan Cape Ltd., 30 Bedford Square, London Idi.C.1, England. Bantam Books are published in Canada by Bantam Books of Canada Ltd., registered user of the trademarks con silting of the word Bantam and the portrayal of a bantam. PRINTED IN CANADA Bantam Books of Canada Ltd. 888 DuPont Street, Toronto .9, Ontario CONTENTS INTRODUCTION, 9 ORIGINS, 13 SEX, 45 REARING, 91 EXPLORATION, 113 FIGHTING, 128 FEEDING, 164 COMFORT, 174 ANIMALS, 189 APPENDIX: LITERATURE, 212 BIBLIOGRAPHY, 215 ACKNOWLEDGMENTS This book is intended for a general audience and authorities have therefore not been quoted in the text. To do so would have broken the flow of words and is a practice suitable only for a more technical work. But many brilliantly original papers and books have been referred to during the assembly of this volume and it would be wrong to present it without acknowledging their valuable assistance. At the end of the book I have included a chapter-by-chapter appendix relating the topics discussed to the major authorities concerned. -
Acción Surrealista Y Medios De Intervención. El Surrealismo En Las Revistas, 1930 – 1939
Acción surrealista y medios de intervención. El surrealismo en las revistas, 1930 – 1939 Javier MAÑERO RODICIO CES Felipe II, Universidad Complutense de Madrid [email protected] Entregado: 19/9/2012 Aceptado: 4/7/2013 RESUMEN Sobre la base de un estudio previo, El surrealismo en las revistas 1919 – 1929, pero de forma autónoma, se aborda a continuación la segunda década surrealista, revisitada siempre al hilo de las revistas que aglutinaron al movimiento. Tras analizar desde Un cadavre la dimensión de la crisis del grupo hacia el cambio de década, asistimos a la adaptación del surrealismo a las extremas condiciones políticas de los años 30 con su revista El surrealismo al servicio de la Revolución. Pero también, y al mismo tiempo, al momento de su máxima difusión y aceptación, particularmente a través del arte. La revista Minotaure será la principal manifestación de este proceso, aunque también son tenidas aquí en cuenta otras cabe- ceras. Palabras clave: Surrealismo, Revistas de arte, A. Breton, G. Bataille, Le surréalisme au service de la Révolution, Documents 34, Minotaure, Cahiers d’Art. Surreal action and means of intervention. Surrealism in the magazines, from 1930 to 1939 ABSTRACT Following on from the previous study, Surrealism in Magazines 1919 – 1929, the second Surrealist decade is now focussed on – at all times with regard to the magazines that united together around the movement. After analysing in Un cadavre the effects of the crisis of 1929, we witness Surrealism’s adap- tation to the extreme political panorama of the 1930’s with the magazine Surrealism in the service of the revolution. -
André Breton Och Surrealismens Grundprinciper (1977)
Franklin Rosemont André Breton och surrealismens grundprinciper (1977) Översättning Bruno Jacobs (1985) Innehåll Översättarens förord................................................................................................................... 1 Inledande anmärkning................................................................................................................ 2 1.................................................................................................................................................. 3 2.................................................................................................................................................. 8 3................................................................................................................................................ 12 4................................................................................................................................................ 15 5................................................................................................................................................ 21 6................................................................................................................................................ 26 7................................................................................................................................................ 30 8............................................................................................................................................... -
Louis Aragon Was One of France's Most Prolific, Prominent, and Contro
Jennifer Stafford Brown "AU FEU DE CE QUI FUT BRULE CE QUI SERA": LOUIS ARAGON AND THE SUBVERSIVE MEDIEVAL ouis Aragon was one of France's most prolific, prominent, and contro Lversial modern poets, causing strong reactions even among those he supported. As a novelist, a poet, an art critic, a member of the surrealist move ment and the French Resistance, and an active member of the PCF, he was throughout his long life a major figure of the French cultural landscape. From his well-known surrealist poetry to his cycle of socialist realist novels to the difficult postmodern works he wrote late in his life, his wildly diverse body of writing leaves no shortage of work for biographers and scholars. Aragon never accepted the status quo. As a surrealist, and later as an ardent Communist, he pushed the boundaries of metaphor, image, and style while passionately advocating literary and social change. During the turbulent years that led up to World War II, however, as well as during the war itself, the nature of his work changed subtly. Aragon, faced with national crisis, turned to the creation of a national myth. For him, as for many other authors, this new sense of nationalism had its roots in the Middle Ages. His contemporaries, as well as his later critics, were bewildered and intrigued by the unexpected source for this myth, going as it did against so many of his social and authorial sensibili ties: "Le projet d'Aragon est ala fois ideologique et poetique. II recherche les moyens d'une expression nationale, ou pour mieux dire franr;aise, a la fois populaire et savante .. -
1 Dalí Museum, Saint Petersburg, Florida
Dalí Museum, Saint Petersburg, Florida Integrated Curriculum Tour Form Education Department, 2015 TITLE: “Salvador Dalí: Elementary School Dalí Museum Collection, Paintings ” SUBJECT AREA: (VISUAL ART, LANGUAGE ARTS, SCIENCE, MATHEMATICS, SOCIAL STUDIES) Visual Art (Next Generation Sunshine State Standards listed at the end of this document) GRADE LEVEL(S): Grades: K-5 DURATION: (NUMBER OF SESSIONS, LENGTH OF SESSION) One session (30 to 45 minutes) Resources: (Books, Links, Films and Information) Books: • The Dalí Museum Collection: Oil Paintings, Objects and Works on Paper. • The Dalí Museum: Museum Guide. • The Dalí Museum: Building + Gardens Guide. • Ades, dawn, Dalí (World of Art), London, Thames and Hudson, 1995. • Dalí’s Optical Illusions, New Heaven and London, Wadsworth Atheneum Museum of Art in association with Yale University Press, 2000. • Dalí, Philadelphia Museum of Art, Rizzoli, 2005. • Anderson, Robert, Salvador Dalí, (Artists in Their Time), New York, Franklin Watts, Inc. Scholastic, (Ages 9-12). • Cook, Theodore Andrea, The Curves of Life, New York, Dover Publications, 1979. • D’Agnese, Joseph, Blockhead, the Life of Fibonacci, New York, henry Holt and Company, 2010. • Dalí, Salvador, The Secret life of Salvador Dalí, New York, Dover publications, 1993. 1 • Diary of a Genius, New York, Creation Publishing Group, 1998. • Fifty Secrets of Magic Craftsmanship, New York, Dover Publications, 1992. • Dalí, Salvador , and Phillipe Halsman, Dalí’s Moustache, New York, Flammarion, 1994. • Elsohn Ross, Michael, Salvador Dalí and the Surrealists: Their Lives and Ideas, 21 Activities, Chicago review Press, 2003 (Ages 9-12) • Ghyka, Matila, The Geometry of Art and Life, New York, Dover Publications, 1977. • Gibson, Ian, The Shameful Life of Salvador Dalí, New York, W.W. -
Literatura Y Ciencia En La Composición Minimalista: Hacia Una Teoría Del Azar Controlado Marta Cureses
Literatura y ciencia en la composición minimalista: Hacia una teoría del azar controlado Marta Cureses ACTIO NOVA: REVISTA DE TEORÍA DE LA LITERATURA Y LITERATURA COMPARADA, 3 (2019): 407-438 DOI: https://doi.org/10.15366/actionova2019.3.018 LITERATURA Y CIENCIA EN LA COMPOSICIÓN MINIMALISTA: HACIA UNA TEORÍA DEL AZAR CONTROLADO LITERATURE AND SCIENCE IN MINIMALIST COMPOSITION: LOOKING FOR A THEORY OF CONTROLLED CHANCE. Marta Cureses Universidad de Oviedo ABSTRACT Literature and science are both the fundamental pillars on which we try here to define a theory of controlled chance through musical minimalism and random composition. Literature —prose and poetry— and science mathematics and music are joined by another discipline taking part of the process: architecture, not in a generalist consideration, but from the very concrete approach proposed by Peter Eisenman’s theory of architecture as a text. Key words: literature theory, combinatorics, random music, minimalism, architecture. RESUMEN Literatura y ciencia son los dos pilares fundamentales sobre los que se trata aquí de definir una teoría del azar controlado en la composición minimalista y de signo aleatorio. Junto a la literatura —prosa y poesía— y ciencia matemáticas y música surge otra disciplina que ACTIO NOVA: REVISTA DE TEORÍA DE LA LITERATURA Y LITERATURA COMPARADA. ISSN 2530-4437 https://revistas.uam.es/actionova 407 Literatura y ciencia en la composición minimalista: Hacia una teoría del azar controlado Marta Cureses ACTIO NOVA: REVISTA DE TEORÍA DE LA LITERATURA Y LITERATURA COMPARADA, 3 (2019): 407-438 DOI: https://doi.org/10.15366/actionova2019.3.018 forma parte del proceso: la arquitectura; no en una definición generalista, sino desde el planteamiento concreto que propone Peter Eisenman en su teoría de la arquitectura como texto. -
Of the Omnipotent Mind, Or Surrealism
UvA-DARE (Digital Academic Repository) The occultation of Surrealism: a study of the relationship between Bretonian Surrealism and western esotericism Bauduin, T.M. Publication date 2012 Link to publication Citation for published version (APA): Bauduin, T. M. (2012). The occultation of Surrealism: a study of the relationship between Bretonian Surrealism and western esotericism. Elck Syn Waerom Publishing. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:28 Sep 2021 four Introduction: The unfortunate onset of the 1930s By the end of the 1920s, life was FO turning sour for Breton. Financially, he was floundering. Amorously, he found himself in dire straits: his marriage with Simone Kahn was over, a love affair UR with Lise Meyer had ended badly, his involvement with Nadja had been tragic and the affair with Suzanne Muzard— introduced as ‘X’ at the end of Nadja— The ‘Golden was not going well. -
The Dismembered Body in Antonin Artaud's Surrealist Plays
CHAPTER TWO THE DISMEMBERED BODY IN ANTONIN ARTAUD’S SURREALIST PLAYS THOMAS CROMBEZ In two of his surrealist plays, Antonin Artaud inserted a scene where human limbs rain down on the stage. The beginning of Le Jet de sang (The Spurt of Blood, 1925) features a young couple pathetically declaring their love for one another, when suddenly a hurricane bursts, two stars collide, and “a series of legs of living flesh fall down, together with feet, hands, heads of hair, masks, colonnades, portals, temples, and distilling flasks”1 (Artaud 1976a, 71). In a later scenario prepared for the Theatre of Cruelty project, La Conquête du Mexique (The Conquest of Mexico, 1933), the volley of human limbs is echoed almost verbatim. Human limbs, cuirasses, heads, and bellies fall down from all levels of the stage set, like a hailstorm that bombards the earth with supernatural explosions.2 (Artaud 1979, 23) These literal and, according to the theatrical conventions of the day, almost unstageable instances of “dismemberment in drama” point to a distinctive characteristic of Artaud’s work. He seemed to strive for a purely mental drama, to be staged for the enjoyment of the mind’s eye. The distinctly appropriative method he employed to write his mental play- texts may be labeled, borrowing an expression from Alfred Jarry studies, as “the systematically wrong style” (Jarry 1972, 1158). This expression has already proven its worth as the most concise term for Jarry’s linguistically grotesque plays, composed of Shakespearean drama, vulgar talk, heraldic language, archaisms, and corny schoolboy humor. The first part of my essay considers why the standard poststructuralist interpretation of Artaud’s œuvre is unable to provide a strictly literal reading of the human body parts that litter the stage. -
Érika Pinto De Azevedo
ÉRIKA PINTO DE AZEVEDO UNE ÉTUDE ET UNE TRADUCTION DE L’HOMME AU COMPLET GRIS CLAIR , NOUVELLE DE MARCEL LECOMTE, ÉCRIVAIN SURRÉALISTE BELGE FRANCOPHONE PORTO ALEGRE ABRIL 2007 1 UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS ÁREA DE ESTUDOS DE LITERATURA ÊNFASE: LEM - LITERATURAS FRANCESA E FRANCÓFONAS Linha de Pesquisa: Teorias Literárias e Interdisciplinaridade UNE ÉTUDE ET UNE TRADUCTION DE L’HOMME AU COMPLET GRIS CLAIR , NOUVELLE DE MARCEL LECOMTE, ÉCRIVAIN SURRÉALISTE BELGE FRANCOPHONE Érika Pinto de Azevedo Dissertação apresentada ao Programa de Pós-Graduação em Letras da UFRGS como requisito parcial para obtenção do grau de Mestre em Letras, área de Estudos de Literatura, ênfase de LEM - Literaturas Francesa e Francófonas Orientador: Prof. Dr. Robert Ponge Porto Alegre, UFRGS 2007 2 TABLE DES MATIÈRES INTRODUCTION CHAPITRE 1 NAISSANCE ET DÉVELOPPEMENT DU SURRÉALISME AUTOUR D’ANDRÉ BRETON JUSQU’EN 1931 ANDRÉ BRETON DE 1896 À 1913 10 LA « DÉCOUVERTE DE LA RÉSISTANCE ABSOLUE » (1913-1918) 11 DE LA FONDATION DE LITTÉRATURE AU LANCEMENT DU 13 SURRÉALISME (1919-1924) DU MANIFESTE (1924) AU SECOND MANIFESTE DU SURRÉALISME (1929- 21 1930) ET UN PEU APRÈS CHAPITRE 2 QUELQUES ÉLÉMENTS D’HISTOIRE DU DADAÏSME ET DU SURRÉALISME EN BELGIQUE JUSQU’EN 1931 CLÉMENT PANSAËRS ET LE DADAÏSME 28 QUELQUES REVUES NOVATRICES OU MODERNISTES 30 RENCONTRES INITIALES DES FUTURS SURRÉALISTES (1919-1924) 31 CORRESPONDANCE , ŒSOPHAGE ET MARIE (1924-1926) 32 FORMATION ET PREMIÈRES ACTIVITÉS DU GROUPE SURRÉALISTE -
Networking Surrealism in the USA. Agents, Artists and the Market
151 Toward a New “Human Consciousness”: The Exhibition “Adventures in Surrealist Painting During the Last Four Years” at the New School for Social Research in New York, March 1941 Caterina Caputo On January 6, 1941, the New School for Social Research Bulletin announced a series of forthcoming surrealist exhibitions and lectures (fig. 68): “Surrealist Painting: An Adventure into Human Consciousness; 4 sessions, alternate Wednesdays. Far more than other modern artists, the Surrea- lists have adventured in tapping the unconscious psychic world. The aim of these lectures is to follow their work as a psychological baro- meter registering the desire and impulses of the community. In a series of exhibitions contemporaneous with the lectures, recently imported original paintings are shown and discussed with a view to discovering underlying ideas and impulses. Drawings on the blackboard are also used, and covered slides of work unavailable for exhibition.”1 From January 22 to March 19, on the third floor of the New School for Social Research at 66 West Twelfth Street in New York City, six exhibitions were held presenting a total of thirty-six surrealist paintings, most of which had been recently brought over from Europe by the British surrealist painter Gordon Onslow Ford,2 who accompanied the shows with four lectures.3 The surrealist events, arranged by surrealists themselves with the help of the New School for Social Research, had 1 New School for Social Research Bulletin, no. 6 (1941), unpaginated. 2 For additional biographical details related to Gordon Onslow Ford, see Harvey L. Jones, ed., Gordon Onslow Ford: Retrospective Exhibition, exh. -
Surrealism-Revolution Against Whiteness
summer 1998 number 9 $5 TREASON TO WHITENESS IS LOYALTY TO HUMANITY Race Traitor Treason to whiteness is loyaltyto humanity NUMBER 9 f SUMMER 1998 editors: John Garvey, Beth Henson, Noel lgnatiev, Adam Sabra contributing editors: Abdul Alkalimat. John Bracey, Kingsley Clarke, Sewlyn Cudjoe, Lorenzo Komboa Ervin.James W. Fraser, Carolyn Karcher, Robin D. G. Kelley, Louis Kushnick , Kathryne V. Lindberg, Kimathi Mohammed, Theresa Perry. Eugene F. Rivers Ill, Phil Rubio, Vron Ware Race Traitor is published by The New Abolitionists, Inc. post office box 603, Cambridge MA 02140-0005. Single copies are $5 ($6 postpaid), subscriptions (four issues) are $20 individual, $40 institutions. Bulk rates available. Website: http://www. postfun. com/racetraitor. Midwest readers can contact RT at (312) 794-2954. For 1nformat1on about the contents and ava1lab1l1ty of back issues & to learn about the New Abol1t1onist Society v1s1t our web page: www.postfun.com/racetraitor PostF un is a full service web design studio offering complete web development and internet marketing. Contact us today for more information or visit our web site: www.postfun.com/services. Post Office Box 1666, Hollywood CA 90078-1666 Email: [email protected] RACE TRAITOR I SURREALIST ISSUE Guest Editor: Franklin Rosemont FEATURES The Chicago Surrealist Group: Introduction ....................................... 3 Surrealists on Whiteness, from 1925 to the Present .............................. 5 Franklin Rosemont: Surrealism-Revolution Against Whiteness ............ 19 J. Allen Fees: Burning the Days ......................................................3 0 Dave Roediger: Plotting Against Eurocentrism ....................................32 Pierre Mabille: The Marvelous-Basis of a Free Society ...................... .40 Philip Lamantia: The Days Fall Asleep with Riddles ........................... .41 The Surrealist Group of Madrid: Beyond Anti-Racism ......................